Vehicle process, perfected
Posted on Apr 13, 2026 by Admin
We’re shining a spotlight on the V Studio, Film Soho’s newly unveiled virtual production stage that excels in vehicle shoots
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Vehicle shooting was built into the V Studio’s DNA – at least, that’s how Kate Phibbs, head of studio, sees it. Opening its doors in May 2025, Film Soho’s latest virtual production facility is the largest in central London, with a 4.5m motorised turntable, drive-in access and a dream virtual production toolbox that includes a bespoke Image Based Lighting set-up and a super-high-resolution LED wall – invaluable assets for filming car scenes.
Designed to accommodate shoots for high-end TV series, indie and big-budget films, music videos, commercials, interviews and podcasts, the V Studio falls under the Film Soho umbrella – a production ecosystem that incorporates the volume stage, post-production and
ADR. With an on-site crew that bridges technical knowledge with creative prowess and virtual supervisory skills, productions are in safe hands.
The studio prides itself on being production-friendly, Phibbs tells us, offering visitors powerful yet easy-to-use technology that can adapt to their needs. “Rather than sit at the forefront, the VP technology we run is designed to bubble away in the background, quietly empowering the creative process,” she says. This includes Unreal Engine, Motion Impossible’s AGITO, Kino Flo’s MIMIK models, Assimilate Live FX and Disguise media servers, Brompton processors and plates from various providers. The entire image-based lighting system, provided by Cirro Lite, functions as one.
“Designed as a compact, high-tech car stage,” adds Chris Bouchard, VP supervisor in residence at the V Studio, the (relatively) small but mighty space can handle “close-ups, mid-shots and typical in-vehicle dialogue scenes for high-end film and TV, using tried-and-tested virtual production processes.” A 1.5mm pitch curved LED wall wraps the circular stage, displaying virtual backdrops in 8K.
The studio is excited to roll out the next phase in its technical development plan, which addresses common pain points that arise when working with reflective surfaces. “Our studio configuration called for a bespoke workflow that matched our approach to lighting vehicles,” says Phibbs. Enter a hybrid solution.
Purposefully pixel-free
Ceiling panels are key in vehicle shoots, keeping reflections consistent across every surface – but sometimes they can be fussy. Due to the studio’s particular architecture, “we needed a bespoke solution to achieve reflection perfection,” says Phibbs. “Our R&D process yielded a new workflow, supplementing ultra high-resolution LED side panels with a tilting, positionable reflective top screen that produces pixel-free images in the windshield, side windows and bodywork from all typical camera angles.
“Productions need to source the digital driving plate for the LED wall,” continues Phibbs. “One option is bespoke plate capture, so they’ll send a vehicle out to get the plate photographically. The other approach is obtaining a plate from an existing library.” Helpfully, the V Studio has a number of close partnerships with digital content providers such as Igelkott Studios (who provided the plate pictured here) and Brownian Motion, sorting solutions for any plate workflow.
“Reflections are the highest priority,” Bouchard recaps. The studio’s complete vehicle solution makes sure images stay crisp and, more critically, true to life.
Drive in, drive out
Standard-size cars and SUVs – anything up to 5.5m in length and three tonnes in weight – can drive directly onto the V Studio stage through its bi-folding doors. Longer vehicles must be loaded onto GoJaks (car dollies). Once on the turntable, the team can ‘orientate the vehicle for any camera angle’ via DMX control. The lighting grid follows a similar system, ‘motorised with DMX and data connectivity’ for quick rigging.
While the V Studio’s set-up might sound simple, it doesn’t shy away from complex shots. “We can rotate the virtual world or driving plates – tracked to the turntable movement – for orbiting crane shots à la Children of Men,” Phibbs says. The Assimilate Live FX servers further support these 360° workflows.
While it’s been operating for under a year, the V Studio has already produced an impressive slate of projects. Of those not still under wraps is BFI-backed short Hindsight. Directed by Remi Moses and shot by Fola Abatan, this was filmed entirely through a car windshield. The limited availability of the lead (Josh Tedeku, Supacell) meant a small window to shoot in, which would not have been possible if not for the tech and knowhow of the team at the V Studio.
Phibbs believes the location is a strong business driver. “Drive-in access in the centre of Soho and handy hair, costume and makeup spaces make it convenient for pick-ups around talent schedules.” Whatever the cause – geography, technology, drive-in ability or on-site expertise – the V Studio is a front-runner for virtual vehicle work.
Find out more at thevstudio.co.uk
This article appears in the April/May 2026 issue of Definition
